Traffic Low Spark Of High Heeled Boys CD

Originally released on Island (9180).
Traffic: Rick Grech (bass instrument); Chris Wood , Rebop Kwaku Baah, Jim Capaldi, Jim Gordon , Steve Winwood.
Personnel: Steve Winwood (vocals, guitar, piano, organ); Jim Capaldi (vocals, percussion); Rick Grech (violin); Chris Wood (flute, saxophone); Jim Gordon (drums); Rebop Kwaku Baah (percussion).
Liner Note Author: John McDermott, Jr.
Recording information: Island Studios, London, England (09/1971).
Photographer: Richard Polak.
The Low Spark of High Heeled Boys marked the commercial and artistic apex of the second coming of Traffic, which had commenced in 1970 with John Barleycorn Must Die. The trio that made that album had been augmented by three others (Ric Grech, Jim Gordon, and "Reebop" Kwaku Baah) in the interim, though apparently the Low Spark sessions featured varying combinations of these musicians, plus some guests. But where their previous album had grown out of sessions for a Steve Winwood solo album and retained that focus, Low Spark pointedly contained changes of pace from his usual contributions of midtempo, introspective jam tunes. "Rock & Roll Stew" was an uptempo treatise on life on the road, while Jim Capaldi's "Light up or Leave Me Alone" was another more aggressive number with an unusually emphatic Capaldi vocal that perked things up on side two. The other four tracks were Winwood/Capaldi compositions more in the band's familiar style. "Hidden Treasure" and "Rainmaker" bookended the disc with acoustic treatments of nature themes that were particularly concerned with water, and "Many a Mile to Freedom" also employed water imagery. But the standout was the 12-minute title track, with its distinctive piano riff and its lyrics of weary disillusionment with the music business. The band had only just fulfilled a contractual commitment by releasing the live album Welcome to the Canteen, and they had in their past the embarrassing Last Exit album thrown together as a commercial stopgap during a temporary breakup in 1969. But that anger had proven inspirational, and "The Low Spark of High Heeled Boys" was one of Traffic's greatest songs as well as its longest so far. The result was an album that quickly went gold (and eventually platinum) in the U.S., where the group toured frequently. ~ William Ruhlmann
THE LOW SPARK OF HIGH HEELED BOYS was a big change from the quiet, largely acoustic flavor of Traffic's reunion album JOHN BARLEYCORN MUST DIE. Although the gentle opening track, "Hidden Treasure," and the meandering, mellow closer, "Rainmaker," were in keeping with the pastoral vibe of the previous record, sandwiched in between those are several increasingly aggressive and lyrically sour songs about that evergreen topic--life in a rock & roll band.
The venality of the business gets a workout in the 12-minute title track, a slow-building jazz-rock groove that starts with a sense of quiet menace and ends with a pealing, distorted guitar solo, with one of Steve Winwood's most impassioned and lengthy organ solos at the song's heart. "Rock & Roll Stew" and Jim Capaldi's sneering putdown "Light Up or Leave Me Alone" are even more forceful, with only the groovy ecological message of "Many a Mile to Freedom" lightening the mood. Even that song rocks harder than anything on JOHN BARLEYCORN MUST DIE, though, and that extra hint of power is likely what helped make THE LOW SPARK OF HIGH HEELED BOYS Traffic's most commercially successful album in the United States.
Low Spark of High Heeled Boys marked the commercial and artistic apex of the second coming of Traffic, which had commenced in 1970 with John Barleycorn Must Die. The trio that made that album had been augmented by three others (Rick Grech, Jim Gordon, and Reebop Kwaakuh) in the interim, though apparently the Low Spark of High Heeled Boys sessions featured varying combinations of these musicians, plus some guests. But where their previous album had grown out of sessions for a Steve Winwood solo alRolling Stone (1/20/72, p.48) - "...as musicians [Winwood] and Traffic have never played better...The longest and the best cut on the album is the title track...creative ensemble playing..."
Q (6/02, p.142) - 4 stars out of 5 - "...Winwood's haunting vocals are cool and restrained while the combination of subtle musicianship, relaxed jamming and a timeless title track ensure this retains its classic status."
Uncut (8/02, p.122) - 4 out of 5 - "...Magnificent showing...Their finest hour."